CAS June Workflow Seminar Video is UP!

[dr sound]

Here's the link for the June CAS seminar:
http://video.google.com/videoplay?do...59604099&hl=en

or here:
http://www.cinemaaudiosociety.org/se.../workflow3.php

[minister]

thanks marti (and the others) for the efforts...looking forward... will download it on my way out the door.

[Tiago Silva]

Is there any way to download the file without Google Video? The Google Video Player doesn't support the NTLM proxy authentication our sysadmin has placed on our firewall. (Neither does Digidelivery, btw...)

[georgia]

Hi Marti!
Much thanks for the seminar on video... lots of great info!

I'm scheduling a free seminar on audio for film here in NYC for Cinewomen, some film makers and some students from various schools. Is there anyway I can get this video on a DVD or as a .mov file so that I can play some of it's key points at our seminar?

cheers
geo

[Eric L]

Hey folks. If you do not want to or can not use Google video then try this...

http://video.google.com/videoplay?do...59604099&hl=en

The first hour will start to buffer and play. Ignore it. On the right side of the window is a download button and a dropdown menu to choose which format. Choose Ipod and you will download to your computer an .mp4 version of the file that can be played in Itunes or Quicktime.

You need to do this for each of the three hour files.

Thanks again, Doc and the CAS.

[froyo]

Hello. I just got done watching it. Thanks again very much. However I can't help but feel uneasy, the same way I did from the previous two. It seems that there is hardly ever agreement on most subjects. Like in this seminar, no one could agree if most field work is recorded at 48.048 or 48.000, should we even call it a Sound Roll anymore, how to identify it, etc. And these are the top people working on the big projects with the bigger budgets. If there is no common ground there, imagine the cluster f&*@ of chaos we have to deal with in the lower budget arenas.

There was a comment made once or twice in the middle of discussions of not trying to reinvent the wheel, but it seems more and more every day, every project does try to reinvent the wheel. A very astute gentleman made the point that a lot of these issues could be lessened if producers and money people could be made to understand that eliminating personnel in a workflow will cost the production more money. He was referring specifically how it was that there used to be people whose job was to keep track of and organize all this 'metadata' that both audio and video people now generate. Reel, scene, take #, time of day, sound roll, mic, etc. But they are no longer there more often than not and we have the situation we have now, where we are lucky if we can figure out if we are even talking about the same project.

I do remember that at one point in one of the other seminars somebody had brought up the point of having a wireless network on set that would receive all this information generated. Which camera, which roll, which scene, which take, what timecode, slate information, etc. Some slates operate that way for the information they have. And they had mentioned that instead of (or in addition to) having the sound guys, camera guys and script guys each enter their own information separately, if it was all entered at the same time on a wireless network then all media created on the set would have the same metadata. Whatever nomenclature that project had chosen, everybody would have.

I think the answer lies somewhere on that horizon. From our end, more often than not audio is receiving timecode generated from the camera or from a central master. If the same timecode can be distributed to everybody on the set, then I don't think it's far fetched to think that all this other metadata can be also which would take all the guess work out of it. Telecine would know what audio would go with what picture because they would all be called the same thing. So would picture and post. Anyway, let's hope we can standardize these workflows.

Bottom line is what has always been the best way to make sure things don't go wrong. Communication. Knowledge. Talk to producers, directors, post supervisors, etc and figure out a game plan before the first day of shooting and stick to that game plan.

[dr sound]

BUMPIN!
Check it out ! It has some good info and it's FREE!

[philper]

It did seem like mostly a beginning, and didn't, in John Coffey's words, "save the world". There is a real desire on the part of the post guys to make the responsibility for starting a fairly considerable pile of information about a take the responsibility of the production sound mixer (as well as wanting that person to change sample rates to 48.048 for anything involving pull-down), and it seems like the production mixers were balking at this. The sound editor seated @ the far right pretty much stated my opinion on this--a lot of info is no help if it isn't accurate virtually all the time; it's better to have less info and have it be accurate. I don't think we are ready to give up paper sound reports yet, although I'm trying to make my PDF reports work these days any time I use Metacorder.

Philip Perkins

[Kuba Pietrzak]

Thanks a lot Marti for giving the opportunity to watch the seminar by non LA-based people like me...
Indeed there is a lot of info; what is more having such a knoledge make all conversation with clients easier, because I can say: "look, this is the way which things are done in Hollywood"...

However most of things are related to film < - > NTSC issues with all pull ups and downs and 48048 etc....

I would love to see such a discussion about film being posted in PAL some day... but it is rather european thing and there are not so many europeans here...

Anyway, I would like to thank all people who make such a pod-cast possible and who invest their private time to prepare it....
This is really great

Best regards
Kuba

[FaderHead]

wait a sec... did hump say "bumpin" ? OMG!